Hey there,Here's the Beethoven op. 2 no. 3 in C Major from my recital a few months ago.There's a few things here and there (you'll hear them*_*), but it's the product of about 2 years work (this sonata was haaaaaaaaaaaard).Oh well; as always, comments are always appreciated and nitpicking is always encouraged Enjoy,Rich

Excellent work on this sonata. In general, you handle the difficulties quite deftly. Generally clear passage playing, excellent dynamics, and good pacing. I also think you capture Beethoven's quintessential energy and ebullience well. The flaws I find very minor, though I did note a few things (after all, you asked for nitpicks )

Movement 1: The thirds at the beginning could be just a tad clearer and more even, though I know how difficult that is. Excellent voicing in the ensuing polyphonic passage. Great mordant precision on those broken octaves! The left hand could be a little clearer in the Alberti basses (and maybe a tad less pedal). Well-planned phrasing and dynamics throughout. The only really problematic passage for me are the broken sixths in the development, which seemed a bit uneven in sound (I couldn't hear many of the notes) and awash in pedal. It's tough to keep those going though, to be sure. The cadenza-like coda is fantastic! The timing, clarity, pedaling, and dynamics all seem just right.

Movement 2: Very well and expressively played. I would recommend perhaps experimenting even more with phrasing and just a bit of rubato here. It sounds just slightly straight-laced to my ears. You follow the score well but there are a few places you could have taken an initiative beyond the printed markings and done more IMO. Take the beginning. I would hear more of an accent and dimin. for the first quavers and then a crescendo and release of tension in the following two. Maybe your tempo is just slightly on the slow side to accomplish that, though I know these are very much matters of taste. Some of your balance against the thirty-second accompaniments could be a bit more pronounced perhaps. One other tiny detail that seemed odd to me is the turns at the end, which you play on the beat but Beethoven has indicated as between the beats. Could be a difference in scores though.

Movement 3: Good energy overall. Maybe could use a bit more polish in places. This is the only movement where it became a bit of a distraction for me since the slips were in obvious and not particularly difficult places. But hey it's a live performance, so no big deal. Is it just me or did you play the triplet trio faster. I think that can work, and I find your dynamic squalls and accelerandos here exciting. The only problem was that when you came back to the scherzo reprise, your tempo may have been faster than the one you started out with, and I'm not sure that's kosher.

Movement 4: Really excellent playing throughout. The lightness and insistence of those triads to start is really phenomenal (I also like your headlong plunge to the top -- very exciting). Good pedalling too, creates a nice fluid effect in the 16ths. Maybe the passage in the lefthand with the thirds was a little weak, but I know with that leap it's damn difficult. Great octaves. You obviously must have very flexible wrists. One small detail I noted is the lefthand trill toward the end seemed notably weaker than the righthand ones. A few obvious rushings in places too but that actually contributed to the excitement in a way.

Despite my nitpicks (which are really quite inconsequential but I like to do it all the same ), really congratulations are in order here. This is overall fabulous playing, and made all the better by its exciting delivery in a live venue.

Hello,Thanks for the comments and giving this piece a listen---I know it's a long one, so I appreciate your time.Regarding the Scherzo and Trio, I tended to play the trio faster, which resulted in a faster recap (ask me if this was my intention, and the answer would be no ). And man, those 3rd passages in the LH in the 4th movement are a pain. My god, those are a pain. This was very helpful to read---regarding the nitpicking, that is. Very helpful, indeed.Thanks for listening,Rich

_________________"The Mind of a composer is that of a tortured soul of Hades---they have no peace, they are never at rest. They search for harmony in a world full of chaos"

I listened to part of this. Excellent playing ! A couple of fluffs but they are completely irrelevant. Ah yes, these thirds in the 4th mvt. They are devilish indeed, with the jump preceding them. You get thru them relatively well. And then all of a sudden there's this balmy Schumannesque melody which could come right out of Kinderszenen. Ahead of his time once more !

This one is on the site. Congratulations to a real great job. I wonder why nobody has taken on Op.2 no. 2 yet It would be worth checking if we are anywhere near a Complete Beethoven Sonatas page.

Good question, although it could be partly because that it's one of the most difficult of all the Beethoven sonatas -- I'm thinking especially of those arpeggiated descending broken octaves in the first movement which are hell to get up to tempo. It does seem to be one of the less frequently played in general and IMO not quite as satisfying in proportion to its difficulties.

I'm even more puzzled about lacking number 6 in F Major, which seems quite frequently played in general and is one of Beethoven's most immediately appealing and affable works IMO. The last movement in that one, though, is also a bitch to get right, at least for me.

Yes, the performance is not note perfect, but that did not bother me. You make the piano speak. There is a grammar to the way the sonata was interpreted. That is the only way I can explain my listening experience. There is a logic and neatness to the way you present different musical ideas. The playing is so musical. It is almost like watching a program in a language you do not speak, but none the less the story is so interesting. The abstract nature of music sounds very down to earth. Again, your playing was so interesting. What is the piano saying now? This seems to be a part of your musical gift.

Congratulations on an interesting and expressive performance that is very refreshing.

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